ON THE COVER Image from the Compendium alchymist by Johann Michael Faust, 1706 (US public domain via wikimedia). !e cover image was created by alchemist Johann Michael Faust with this expanding text: "Compendium alcyhmisti- cum novum, immersive Pandora explicata et "guris illus- trata; which the noblest gift of God or a Güldener treasure with which the old and new Philosophi that imperfect metal, by force of "re." Carl Jung notes that “!e alche- mists professed to a transformation between "re and water, which they regarded as baptism” (CW 14, Para. 702). Faust has placed “Fermantatio,” “the force of "re” and “noblest gift of God” between the lunar and solar images. Faust, Johan Michael. Compendium alchymist. 1706. Ojeda, Cesar. Alquimia Miscelanea. 31 Jan. 2013, www.odisea2008. com/2013/01/alquimia-miscelanea.html. Jung, C.G, Collected Works of C. G. Jung, Vol. 14. 2nd ed., Princeton Uni- versity Press, 1970. Para. 702. !e Mythological Studies Journal has been designed to be read in the printed version. Blank pages are intentional. 2 VOLUME VIII 3 MANAGING EDITORS Hannah Elizabeth Irish Randall Victoria Ulyate EDITORIAL TEAM Hannah Elizabeth Irish Randall Victoria Ulyate Kiese Hill Jason D. Batt LAYOUT & DESIGN Jason D. Batt FACULTY ADVISOR Patrick Maha#ey, PhD PROGRAM CHAIR Evans Lansing-Smith, PhD Mythological Studies Journal is a publication of the Mythological Studies with an Emphasis in Depth Psychology MA/PhD program of Paci"ca Graduate Institute Copyright © Paci"ca Graduate Institute, 2020 All Rights Reserved 249 Lambert Road Carpinteria, CA 93013 paci"ca.edu 4 TABLE OF CONTENTS Letter from the Editor 8 Strange Water 9 An Exile into the Deep Self in Frank Herbert’s Dune Jason D. Batt, MFA !e End of Times 15 Seeing the Book of Revelation !rough a Mythic Lens Caitlinn R. Curry, MA Encountering the Goddess 19 Transformation in the Hero’s Underworld Journey Hannah Elizabeth Irish, MA Antipodal Worlds 25 Being Human in the Forests of the Amazon is Not the Same as Being Human in the City of Madrid Jennifer Maile Kaku Mnemosyne’s Well 33 !e Ritual of Bathing in Beloved and !e Odyssey Kristinha Maria Reva !e Signi"cance of the Horse in Black Elk’s Vision 39 Heather A. Taylor, MA Birth of the Mother 47 A Dionysian Descent into Labor and Madness Randall Victoria Ulyate, MA 5 6 INTRODUCTION Welcome to the Mythological Studies Journal, Volume VIII. !is year’s theme is “Sacred Encounters: Transforma- tional Moments in Myths, Rites, and Rituals”. Little did we know, when we selected this theme a little over a year ago, that the compilation of this volume would be taking place during a time of intense transformation in many as- pects of our lives in the spring and summer of 2020. It has truly been a labor of love under pressure, reminiscent of the alchemical process. We are proud of the articles included, and excited to share them with you. We would like to express our thanks to all of the contrib- uting authors for sharing their work with us. !eir articles cover topics such as Jungian psychology in contemporary literature, archetypal processes and modern medicine, the Hero’s Journey in classic literature, and the transformation of symbols within religious myths. !e result is a diverse exploration of this year’s theme. Much gratitude is also owed to our faculty advisor, Dr. Pat- rick Maha#ey, for his guidance and support. Additionally, we are grateful to our peer reviewers for their time and in- put in the preliminary review process. And extra special appreciation is due to the additional members of this year’s editorial team: Kiese M. Hill and Jason D. Batt. !is pub- lication would not have been possible without their team- work, patience, and dedication. We hope you enjoy joining us on this transformational journey! Hannah Elizabeth Irish and Randall Victoria Ulyate Co-Managing Editors 7 8 Mythological Studies Journal, Volume VIII (2020) Strange Water: An Exile into the Deep Self Jason D. Batt, MFA in Frank Herbert’s Dune KEYWORDS RANK HERBERT’S NOVEL DUNE is the story of Paul Atreides’ Jungian Depth Psychology journey across the face of the desert wasteland of the planet Arrakis, also Science Fiction known as Dune, and below into the myriad hidden caverns of desert Anima dwelling Fremen. !e planet Arrakis has captured the attention of the galaxy. Archetypes F !rough political con$ict driven to possess control of Arrakis’s chief resource, the cinnamon-$avored, prescient-gifting spice, stewardship of the planet has shifted from the tyrant House Harkonnen to the noble House Atreides led by Duke Leto Atreides. For our purposes, though, the Duke is not of interest. It is his son, Paul. Paul’s exile after the death of his father and the return of the vile Harkonnen is a story of Paul’s discovery of both his destiny and his true self. For this paper, the self is de"ned as “the centre and totality of the psyche . rep- resent[ing] psychic wholeness” (Wang waters. Paul’s poverty and loss guide 153). Paul "nds himself in $ight with him to the dark waters, not just the his mother into a desert where every literal waters hidden deep in the des- drop of water is sacred—so much that ert planet, but the deep waters of his even tears in mourning are seen as a own self and of the collective uncon- great sacri"ce. Yet, Paul will discover scious, “the repository of man’s psy- that there are vast amounts of water on chic heritage and possibilities” (Sam- Arrakis, hidden far below the surface. uels 32). !e discovery of those waters Founder of Jungian Depth Psycholo- and Paul’s imbibing of them form his gy, Carl Jung guides us into seeing the transformational moment, elevating psychological signi"cance of the hid- him into something nearly divine. den waters: “[W]ater is no "gure of When we enter the story, “Arrakis speech, but a living symbol of the dark lay at the hub of the universe with psyche” ( Jung, Archetypes 17). Expand- the wheel poised to spin” (565). !e ing on this, Paul’s loss of his father fall of House Atreides sets that wheel preceding his discovery of the water is spinning with Paul at the center. !e a moment that has great signi"cance sand-strewn planet Arrakis, as Her- in Jung’s psychology: “[T]he soul in bert paints it, serves as a map of the search of its lost father [must "nd its self, and what was described of Paul way] to the water, to the dark mirror equally applies to Arrakis: “an island that reposes at its bottom. Whoever of Selfdom” (Herbert 41). Paul’s inner has elected for the sake of spiritual journey follows Jung’s three psychic poverty . [so goes] the way of the levels, “(1) consciousness, (2) the per- soul that leads to water” ( Jung, Arche- sonal unconscious, and (3) the collec- types 17). !e outer world of Arrakis, tive unconscious” ( Jung, Essential 67), populated with a myriad cast, serves as and is mirrored in his outward journey, a mirror to the inner world that Paul illustrating Murray Stein’s observa- plunges into all the way to the deep tion, “As above, so below . As within, 9 Batt, “Strange Waters: An Exile into the Deep Self in Frank Herbert’s Dune” so without” (221). development” (Wang 197)—a journey of discovery of the Beginning on the "rst of Jung’s psychic levels, the sur- knowledge of their true self. face of Dune re$ects the conscious mind. !e ego serves For Jung, the discoveries within individuation require as the center of consciousness—that part of the mind that an understanding of archetypes. “[T]he archetypes of the is aware of itself (Samuels 135). We "nd that the axis of collective unconscious provided the basic themes of human those two, ego-consciousness, “is the earth, terra "rma; it is life on which each individual worked out his or her own where we live, at least during our waking hours” (Stein 36). sets of variations. !e archetype is thus Jung’s basic con- Upon the surface, the city of Arrakeen is a struggling me- cept” and serves as the collective inherited modes of psy- tropolis dependent upon technology to survive; its people chic function given energy through the coalescence of im- hide behind generated electronic shields in fear of attack by ages, emotions, ideas, and myth (Wang 75). !e world of giant, territorial sandworms. Unknown to the city-dwell- Dune is populated with archetypes, and the story is moved ers, those outside have carved out through relationships with those massive dwellings, called sietchs, archetypes. Jung states that we below. !ere, in the hidden un- encounter archetypes within our derworld network of sietchs, the personal unconscious that often Fremen thrive. !ey move in the arrive as part of the collective un- darkness of night, stepping out of conscious, those that have been human rhythm to disappear into with us before the unconscious the unorchestrated cacophony existed: “!e archetypes most of nature. !eir caverns contain clearly characterized from the their wealth—great pools of wa- empirical point of view are those ter, more water than the surface which have the most frequent and world dare imagine. the most disturbing in$uence on !e planet and its populace the ego” (Essential 91). Paul seeks serve as a symbol of the whole to understand them and integrate self: ego above (visible and thin) them into his fragmented self. and the unconscious below dis- Of Dune’s archetypes, the covered through Paul’s journey planet Arrakis is a presence (both within the planet and with- and force impossible to ignore.